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"There can be no murder in paradise.” That is the intriguing backbone of both novelist Tom Rob Smith’s 2008 best-seller and this rip-roaring adaptation, which casts the multi-faceted Tom Hardy in [ ... ]

Young Irish writer/director Gerard Barrett follows up his 2013 debut Pilgrim Hill with the equally as gritty Glassland, a film which makes the absolute most of its two excellent leads to present a pow [ ... ]

With stage-to-screen adaptations, much of the immediacy and vitality of the original production can so be easily lost in translation. Not so with London Road, which makes its way to the big screen via critically acclaimed runs at London’s Cottsloe and Olivier theatres and loses absolutely none of its impact in the process.

Young Irish writer/director Gerard Barrett follows up his 2013 debut Pilgrim Hill with the equally as gritty Glassland, a film which makes the absolute most of its two excellent leads to present a powerful study of the devastating personal battles being fought behind myriad ordinary doors. Here, Barrett addresses the same themes of isolation, despair and parental relationships as in his first film, but shifts his focus from the empty expanses of rural Ireland to the claustrophobic confines of the nondescript working class backstreets of Dublin.

In modern day Columbia, just as in the rest of the world, the gap between rich and poor grows ever wider, swallowing entire generations in the process. This is the bleak reality at the heart of Gente De Bien, the third feature from Colombian director Franco Lolli which, although nothing new, is a solid entry in the enduring stable of Latin American social cinema.

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Nikki's Bio

I have been writing about international film for various print and online publications for well over a decade, since falling in love with film after first catching sight of Gone With the Wind on TV.

While studying cinema at Leicester University, I became the film editor for its student paper. After graduating, I got a job at the UK's longest running movie mag Film Review where I worked my way up from producation assistant to becoming the first female editor in its history. Following Film Review, I joined film industry publication movieScope where, during my five years as editor, I oversaw its evolution from niche magazine to respected international resource. I was nominated for Editor of the Year by the British Society of Magazine Editors for my work on movieScope.

As a freelance writer, I have written about film and culture for a variety of magazines and websites, including BBC Online, Little White Lies, Filmstar and Kodak's In Camera and The List, and my particular passion is promoting the equal representation of women throughout all aspects of the industry, both in front of and behind the camera. I am a member of various professional bodies, including London Film Critics Circle, Women in Film and TV and Alliance of Women Film Journalists.

I am currently in the process of updating and streamlining Roll Credits.